It all started as a desire to preserve his childhood memories from the Finish countryside when the photographer found out he would become father, but gradually the idea adopted also the concept of preserving the threatened nature.
Christoffer Relander – Jarred and Displaced
“Reality can be beautiful, but the surreal often absorbs me. Photography to me is a way to express and stimulate my imagination. Nature is simply the world. With alternative and experimental camera techniques I am able to create artworks that otherwise only would be possible through painting or digital manipulation in an external software.”
Daren You’s series ‘Chaos’ – dark tones for infinite universe, wind, clouds, water for unpredictable elements as subjects, and merging different photographic techniques, in exploring the chaos as completely disordered event.
Daren You – Chaos
“Chaos is a property of dynamic systems. A dynamic system is nothing more than a source of changing observations. It is impossible to predict and control. If law and order rule the universe, chaos, by contrast, is its totally disorganized opposite. In order to liberate my photographs completely, I have intentionally introduced chaos into my images.
I used several techniques from historic to contemporary to process the same image such reticulated film through a high temperature developing process, liquid emulsion, inkjet printing, darkroom printing and encaustic painting. These multi-layered photos push beyond the edge of artistic control and merge as complex and unconstrained.”
Xiaoyi Chen’s series ‘Koan’ – using the photogravure process and with Eastern aesthetic to explore beneath the surface of symbolic and following to the Zen and Taoist philosophy opening up the territory of the pre-verba in getting closer to the concept of purity.
Xiaoyi Chen – Koan
“Tao and Zen always advise people to stay absolutely quiet and purify thought processes. In order to achieve this goal, our attention should focus on the most basic form of the universe’s existence. In Zen Buddhism, Koan is a story or riddle used to help in the attainment of a state of spontaneous reaction, free from planning and analytical thought. In contradiction to Western philosophy, Koans emphasize the inadequacy of language and words, and the importance of intuition over reason and logic, to transform the self.
I named the series Koan, and selected abstract landscape photographs to do a photo-etching process; the results of this craft are poetic and full of imaginations. Also only uses black ink and print on different Japanese papers, the color derives from the atmosphere of desolation and melancholy and the expression of minimalism in ancient Chinese poetry and monochromatic ink painting.”
Suzanne Jongmans’s ongoing series ‘Mind over Matter’ – portraits in the tradition of the 15th, 16th and 17th century Dutch masters, dressed with sculptural form costumes of recycled materials created by the artist herself as a swing from past to present in observing the existence of another reality.
Suzanne Jongmans – Mind over Matter
“Most people throw away foam rubber, but like a child I see the diamond in a stone. The idea of making something out of nothing changes our look on reality. A piece of plastic with text printed on it, used for packing a coffee machine or television can resemble a piece of silk. And the lid of a can of tomato puree can look like a ring… Textile poetry drew from a mundane visual language, a significant reminder of the overwhelming amount of foam which would otherwise be lying in landfills instead of presenting things of beauty.”
Sonja Braas’s ‘The Passage’ – minimalist landscape of frozen moments as a journey through fictitious space to depict time as a subjective dimension depending on the viewer.
„Through the gradual realization, that the images do not meet the expectation of authenticity and the resulting dissolution of the illusion of a chronological flow, assuredness in defining a position in time and space is replaced by assumption and interpretation. Space and time become abstractions that are no longer independent from the viewer, but are on the contrary completely based on the viewer’s perception.”
Sonja Braas – The Passage
“The chronological succession is implied by the continuously changing sky and the change of source and intensity of the light: a temporary, “seasonal”, gradual darkening from nearly blinding daylight to almost absolute darkness that only the light of the moon and the stars interrupts. Changes in the landscape lead to the perception of movement. It is not a directed movement: the last image connects to the first, perhaps one arrives at the same location the journey had begun. The implication is that of a loop – the journey might not begin or end but repeat itself.”
Annu Palakunnathu Matthew’s series ‘An Indian from India’ – diptychs combining archival images from the 19th and early 20th century of Native Americans with her self-portraits, to challenge the legacies of colonial pasts of more than 500 years and exploring the ‘otherness’ of identity.
Annu Palakunnathu Matthew – An Indian from India
“As an immigrant, I am often questioned about where I am “really from.” When I say that I am Indian, I often have to clarify that I am an Indian from India. It seems strange that all this confusion started because Christopher Columbus thought he had found the Indies and called the native people of America collectively as Indians.”
With themes like assimilation and assumptions about minorities, and titles ‘Red Indian’ / ’Brown Indian’ or ‘Noble Savage / ‘Savage Noble’, the confusion is not only around the word “Indian” but has deeper roots in stereotypes of the notion of ‘primitive natives’ and races relations.
“We wish to surround ourselves by places and people that bring out the core of humanity, brings us back to our natural roots, to aim for a state of being in which the boundary between our cultures and backgrounds seems to blur.”
Nicolas Dhervillers’s series ‘Hommages’ – a combination of his monumental landscapes with characters from canvases of great painters from Nicolas Poussin and Gustave Courbet to Frank Cowper in paying tribute to their work and giving them a new spiritual existence into a modern surreal setting.
Nicolas Dhervillers – Hommages
”In grandiose compositions, Nicolas Dhervillers exalts the vision of a man immersed in the heart of lush. Its isolation in the sine qua non of its development. Tributes thus refers to the romantic myth of abandonment and the quest itself. Paradoxically, the extras seem to have a moment of idleness in this ideal landscape, yet they embody many souls in search of identity”.
Caitriona Dunnett’s series ‘Mass Paths’ – landscapes of the Irish countryside in hunting for traces of people who walked the paths during penal times to reach illegal mass, in her attempt to investigate history and memory, and capture their stories of resilience, courage and commitment.
Caitriona Dunnett – Mass Paths
“The Penal Laws were imposed on Catholics in Ireland in 1695 and religion was prohibited. The Church was kept alive by operating under great secrecy. My aim is to visually unearth the history behind these paths and the people who walked them. The locations of these sites were passed on by word of mouth… I spent years researching…
I have been experimenting with converting the digital photographs of my walks into contact negatives, creating and then toning cyanotypes, opening up a dialogue between photography, painting and etching. I am engaged by how this multi-layered process echoes that of a landscape which has been coated over the years by the complexities and tensions of politics, society, religion and people.”
Stefanie Schneider’s Polaroid series ‘Oilfields’ – “connotes both the notion of the frontier and the adventurous mentality of the West, and a kind of horizontal understanding of landscape that is so quintessential about the West. While it circumscribes the West’s idiosyncratic historical and physical manifestations, it also stands for a concept that is slowly fading into the past as a new era emerges.”
Stefanie Schneider – Oilfields
Stefanie Schneider started working with Polaroid film in 1996 when she found cheap expired film and since that moment she never stopped creating pictorial photo narrative artworks with this vanishing medium. Fortunately she still has enough in stock to continue exploring the variable possibilities of chance and the stories it unfolds.